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<title>CentOS Artwork Repository: 2.4 The trunk/Identity Directory</title>
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[Top]
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[Contents]
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[Index]
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[ ? ]
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2.4 The <tt>`trunk/Identity'</tt> Directory
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2.4.1 Goals
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The <tt>`trunk/Identity'</tt> directory structure implements The
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CentOS Project Corporate Identity.
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2.4.2 Description
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The CentOS Project corporate identity is the "persona" of the
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organization known as The CentOS Project. The CentOS Project
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corporate identity plays a significant role in the way the CentOS
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Project, as organization, presents itself to both internal and
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external stakeholders. In general terms, the CentOS Project corporate
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visual identity expresses the values and ambitions of the CentOS
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Project organization, its business, and its characteristics.
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The CentOS Project corporate identity provides visibility,
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recognizability, reputation, structure and identification to The
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CentOS Project organization by means of Corporate Design,
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Corporate Communication, and Corporate Behaviour.
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2.4.2.1 Corporate Design
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The CentOS Project corporate design is applied to every single visual
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manifestations The CentOS Project as organization wants to express its
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existence. Examples of the most relevant visual manifestations inside
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The CentOS Project are The CentOS Distribution, The
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CentOS Web and The CentOS Stationery.
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The CentOS Project corporate design is organized in the following
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work-lines:
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The CentOS Brand
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The CentOS Brand is the name or trademark that connects the producer
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with their products. In this case, the producer is The CentOS Project
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and the products are The CentOS Project visual manifestations.
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See section The <tt>`trunk/Identity/Brands'</tt> Directory, for more information.
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The CentOS Colors
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The CentOS Fonts provides the color information used along The CentOS
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Project visual manifestations.
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See section The <tt>`trunk/Identity/Colors'</tt> Directory, for more information.
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The CentOS Fonts
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The CentOS Fonts provides the typography information used along The
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CentOS Project visual manifestations.
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See section The <tt>`trunk/Identity/Fonts'</tt> Directory, for more information.
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The CentOS Themes
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The CentOS Themes provides structural information and visual style
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information, as well, used along The CentOS Project visual
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manifestations.
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See section The <tt>`trunk/Identity/Themes'</tt> Directory, for more information.
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2.4.2.2 Corporate Communication
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The CentOS Project corporate communication is based on community
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communication. In that sake, the following media are available for
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corporate communication:
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The CentOS Mailing Lists (http://lists.centos.org/).
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The CentOS Forums (http://forums.centos.org/).
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2.4.2.3 Corporate Behaviour
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The CentOS Project corporate behaviour is based on community
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behaviour.
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2.4.2.4 Corporate Structure
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The CentOS Project corporate structure is based on a monolithic
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corporate visual identity structure. In this structure, we use one
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unique name (The CentOS Brand) and one unique visual style (The CentOS
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Theme) in all The CentOS Project visual manifestations.
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Inside a monolithic corporate visual identity structure, internal and
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external stakeholders use to feel a strong sensation of uniformity,
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orientation, and identification with the organization. No matter if
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you are visiting web sites, using the distribution, or acting on
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social events, the one unique name and one unique visual style
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connects them all to say: Hey! we are all part of The CentOS
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Project.
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Other corporate structures have been considered as well, but they
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introduce visual contradictions we need to be aware of. In that sake,
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lets describe the idea of: Producing one different visual style
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for each major release of The CentOS Distribution.
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The CentOS Project maintains near to four different major releases of
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The CentOS Distribution parallely in time and that fact makes one part
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of The CentOS Project structural design, but just one part, not the
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complete structural design. In order to produce the correct corporate
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structure for The CentOS Project we need to concider all the visual
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manifestations The CentOS Project is made of, not just one of them.
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If one different visual style is used for each major release of The
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CentOS Distribution, which one of those different visual styles would
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be used to cover the remaining visual manifestations The CentOS
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Project is made of. Would we end up with four different visual styles,
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one for each distribution? In that case, why The CentOS Distribution
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we use shows one visual style, The CentOS Web sites another and The
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CentOS Stationery even another completly different one? Isn't them
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all part of the same project?
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Probably you be thinking, that's right, but The CentOS Brand connects
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them all already, why would we need to join them up into the same
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visual style too, isn't it more work to do, and harder to maintain?
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Harder to maintain, more work to do, it is probably. Specially when
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you consider that The CentOS Project has proven stability and
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consistency through time and that, certainly, didn't come through
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swinging magical wangs or something but hardly working out to automate
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tasks and so providing maintainance through time. Said that, we
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consider that The CentOS Project visual structure should be consequent
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with such stability and consistency tradition. It is true The CentOS
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Brand does connect all the visual manifestations it is present on, but
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that connection would be stronger if one unique visual style backups
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it. In fact, whatever thing you do to strength the visual connection
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among The CentOS Project visual manifestations would be very good in
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favor of The CentOS Project recognition.
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Obviously, having just one visual style in all visual manifestations
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for eternity would be a very boring thing and would give the idea of a
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visually dead project. So, there is no problem on creating a brand new
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visual style for each new major release of The CentOS Distribution, in
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order to refresh The CentOS Distribution visual style; the problem
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does is in not propagating the brand new visual style created for the
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new release of CentOS Distribution to all other visual manifestations
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The CentOS Project is made of, in a way The CentOS Project could be
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recognized no matter what visual manifestation be in front of us. Such
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lack of uniformity is what introduces the visual contradition we are
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precisely trying to solve by mean of themes production in the CentOS
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Artwork Repository.
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2.4.3 Usage
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The <tt>`trunk/'</tt> directory structure is organized in
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renderable and non-renderable directories. Generally,
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renderable directories contain two non-renderable directories inside,
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one to store design templates (the <tt>`Tpl/'</tt> directory), and other
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to store the content produced (the <tt>`Img/'</tt> directory).
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In order to produce content inside rendereble directories, you can use
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the following command:
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centos-art render trunk/Identity/Path/To/Dir
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 Warning If the centos-art command-line
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is not found in your workstation, it is probably because you haven't
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prepared it for using The CentOS Artwork Repository yet.
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See section The <tt>`trunk/Scripts/Functions/Verify'</tt> Directory, for more
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information.
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This command takes one design template from the template directory and
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creates an instance of it in order to apply translation messages on
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it, if any. Later, using the design template instance, the command
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renders the final content based on whether the design template
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instance is a SVG file or a Docbook file. If the design template
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instace is a SVG file, the final content produced is a PNG image. On
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the other hand, if the design template instance is a Docbook file, the
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final content produced is a XHTML file. Final content is stored in the
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image directory using the design template directory paths as referece.
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The rendition flow described so far is known as the
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base-rendition flow.
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Besides the base-rendition flow, the centos-art provides the
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post-rendition and last-rendition flows. The
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post-rendition flow is applied to files produced as result of
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base-rendition flow under the same directory structure. For example,
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you can use post-rendition action to convert the PNG base output into
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different outputs (e.g., JPG, PDF, etc.) before passing to process the
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next file in the same directory structure. The last-rendition flow is
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applied to all files produced as result of both base-rendition and
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post-rendition flows in the same directory structure, just before
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passing to process a different directory structure. For example, the
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<tt>`Preview.png'</tt> image from Ksplash component is made of three
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images. In order to build the <tt>`Preview.png'</tt> image through
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centos-art we need to wait for all the three images the
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<tt>`Preview.png'</tt> image is made of to be rendered, so we can combine
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them all together into just one image (i.e., the <tt>`Preview.png'</tt>
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image). This is something we can't do using post-rendition flow.
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Inside <tt>`trunk/Identity'</tt> directory structure, you can find that
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base-rendition, post-rendition and last-rendition flows can be
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combined to build directory-specific rendition. The
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directory-specific rendition exists to automatically process specific
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renderable directories in very specific ways. Using directory-specific
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rendition speeds up production of different components like Syslinux,
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Grub, Gdm, Kdm and Ksplash that require intermediate formats or even
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several independent files, in order to reach its final construction.
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Directory-specific rendition is a way to programmatically describe how
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specific art works are built in and organized inside The CentOS
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Artwork Repository. Such descriptions have been added to
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centos-art command-line to let you produce them all with
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just one single command, as fast as your machine can be able to handle
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it.
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See section The <tt>`trunk/Scripts/Functions/Identity'</tt> Directory, for more
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information about the identity functionality of
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centos-art command-line interface.
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2.4.4 See also
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See http://en.wikipedia.org/Corporate_identity (and related
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links), for general information on corporate identity.
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Specially useful has been, and still be, the book Corporate
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Identity by Wally Olins (1989). This book provides many conceptual
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ideas we've used as base to build The CentOS Artwork Repository.
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</body>
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</html>
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